Architecture & Design Issue 06 September 2022

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ESSENSI SPA BY INIALA HARBOUR HOUSE, VALLETTA

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Gracing the cover of the magazine is a unique example of 19th century architecture, Villa Lugisland, a mysterious grade one historic property in Rabat, which TBA Periti are on a mission to restore to its former glory, without interfering with the form and elements. Perit Gaston Camilleri walks us through the process and vision to revive this magnificent dilapidated building into a vibrant residence, with the facilities that one expects in contemporary houses, but with total respect to its history and beautiful detailing.

In this edition we also meet up with architect Andrew Vinci from Vinci Architects. We speak to him about the inspirations he has held along the years, which projects he is most proud of, which Malta

architecture pleases him and which hurts.

We also take a look at Richard England’s 1964-1970’s buldings that have either been altered or demolished. It is heartbreaking for him to see them being torn down or worse still altered. “It’s actually less painful when they are demolished, less of a humiliation…” he confesses.

Architect Edward Said, who specialises in historic building conservation, expresses his concern about the dynamic transformation of the Maltese islands from Independence onwards. “How many more losses can we sustain of those dwindling buildings which although classified as modern are in fact for the most part regionalist, thus identifiably Maltese?” He claims that “education is the key, but we must make haste!”

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Biocalce®, the only natural repairing plaster/ render tested for the preservation and restoration of historic buildings.

Vibro Blocks Complex, Mdina Road, Zebbug

J M Vassallo Vibro Steel Limited

Photo by David Cilia

WHAT ARE YOUR EARLIEST MEMORIES OF ARCHITECTURE?

Obtaining a first degree in mechanical engineering, I am somewhat of a latecomer to architecture. I soon realised that I had chosen a wrong career path when I saw what my architect peers were up to and I have no regrets today about returning to university.

HOW WOULD YOU DESCRIBE YOUR WORK?

Challenging, if I had to choose one word.

WHAT IS YOUR TAKE ON MODERN BUILDINGS AND HOW DO THEY FIT INTO THE TRADITIONAL MALTESE BUILDING STYLES?

I am of the strong opinion that, whilst being contextual, buildings should always reflect the time they belong to.

I find the often-compromised attempt at replicating traditional buildings more offensive than an all-out contemporary building that respects the context through materiality, mass, and proportions.

WHAT LED TO YOUR BIGGEST SUCCESS AS AN ARCHITECT?

Setting up a practice of like-minded colleagues with whom I can share my passion for the profession is my biggest success.

WHAT INSPIRED YOU TO START YOUR OWN BUSINESS?

I worked for a large firm where, at a point in my mid-thirties, I felt that I could not advance any further; having a small practice allows me to provide a platform for my team from which we can grow together.

WHAT HAVE YOU BROUGHT TO ARCHITECTURE IN MALTA?

I would be presumptuous to say that I singularly brought anything significant. I would however like to think that we are regarded as one of the local practices, amongst a number of others, that collectively put in all they can to provide a high level of contemporary design, even if at times it means butting heads with clients and authorities alike.

CAN YOU COMMENT ON SOME OF YOUR RECENT PROJECTS?

We recently finished BABA in Gzira, which sums up a large part of our ethos; a small but still

detailed, bespoke design in close collaboration with the branding team and fabricators that mirrors our client’s drive to take Lebanese street food to another level.

compromising our vision; amongst my less favourite were a couple when we acted as the ‘Perit’, regarded locally merely as the one who obtains planning permission and oversees a construction to shell, with finishes taken over, often underwhelmingly, by the developer themselves.

WHAT CURRENT MALTA ARCHITECTURE PLEASES YOU AND WHAT HURTS?

For architecture to please me it has to present itself not as a singular building but on an urban scale with flowing public spaces bound by a collective of beautiful buildings regardless of their era or style, so, I would say the regenerative project of Dock 1 in Bormla and City Gate stand out.

What hurts is the eventual lack of appreciation for these carefully curated spaces, case in point being the barricading of the Parliament and the systematic taking over by the ridiculous planters and restaurant tables and chairs right opposite. two

WHO DO YOU ADMIRE AND WHY? chitec

Internationally, my heroes are Spanish and Portuguese, Alberto Campo Baeza and Álvaro Siza Vieira to name just two, for their sensitive, often minimal but human scale, buildings.

On a larger commercial scale, we recently completed the new offices of ECOVIS Malta in Mosta, which found us working again with a global brand and an open-minded client, allowing us to come up with a sequence of spaces scripted by the firm’s workflow connected through partitions of varying transparency.

A couple of our more recent residential projects, a rural villa and an extension and conversion of a house set in the village core of Zebbug, showcase our use of materials within context and how our aesthetic expression is often conveyed through the building’s raw structure.

WHICH ARE THE PROJECTS YOU ARE MOST PROUD OF AND WHICH ARE YOUR LEAST FAVOURITE?

I’m proudest of the projects where we earned our client’s trust and delivered a design without

Locally, architects such as Joseph M Spiteri and Joseph Huntingford, who found themselves at the crossroads of vernacular and emerging mid-century architecture, celebrated both with a regional modernist style employing local materials and craft; it is a disgrace that these buildings are often not regarded as part of our heritage and are being pulled down for redevelopment. two ts who

WHAT ADVICE WOULD YOU GIVE ASPIRING ARCHITECTS?

Travel as much as you can and see how it’s done elsewhere; we organise an annual office trip where we spend a few days taking in as much as we can with Berlin being this year’s destination.

WHERE DO YOU SEE YOURSELF IN THE NEXT FIVE YEARS?

We have just celebrated five years of VINCI Architects during which we’ve grown into a great and tight-knit team and delivered some exciting projects; hopefully we’ll see more of the same! ey

To learn more about Andrew Vinci and his team visit www.vinciarchitects.com

For architecture to please me it has to present itself not as a singular building but on an urban scale with flowing public spaces bound by a collective of beautiful buildings regardless of their era or style “ ”

“I am of the strong opinion that, whilst being contextual, buildings should always reflect the time they belong to. I find the oftencompromised attempt at replicating traditional buildings more offensive than an all-out contemporary building that respects the context through materiality, mass, and proportions ”

ECOVIS, Mosta

Photographer: Alex Attard

RURAL VILLA (DETAIL)

Photographer: Chris Sant Fournier

HOUSE EXTENSION , Zebbug

Photographer: Chris Sant Fournier

BABA, Gzira Photographer: Alex Attard

THE

OF VILLA LUGINSLAND

Words by Perit Gaston Camilleri PARTNER AT TBA PERITI

Afterlong years of neglect, this mysterious and unique scheduled Grade one property will finally start to be rehabilitated and restored. TBA periti have been engaged to assess the structural condition of the property, to propose a methodology for the restoration of the building fabric, and to advise on the approach to the installation of building services.

Approved Villa 1886

Approved garden extension 1892

Site history, new findings

This palatial house and garden were the home to Baron Maximillian Von Tucker, who was born in Bavaria. Baron Von Tucker came to Malta in the late 19th Century as the German Consul to Malta. Considerable archival research was carried out to permit a better understanding of the construction of the building. Some interesting findings were discovered, in addition to what was already known about this property. Villa Luginsland was designed by architect Francesco Zammit, with the works being phased over at least two portions. From research carried out at the Santo Spirito Archives, it was established that two original building applications were filed, one for the actual Villa itself, dated 1886, and one for the walled garden and out-buildings dated 1892. Ironically, the first application for the villa was deemed to have an insufficient backyard. This problem was quickly resolved in 1892 with the acquisition of the land behind, part of which became the large formal garden. The submitted drawings, which are reproduced above, are completely representative of the existing situation, except for some minor deviations. Incidentally, with this information, certain details of the building fabric were easier to understand, since the ‘junction’ between the Villa and garden extension become clearly visible.

From the beginning, the design team has been working with the office of the Superintendence of Cultural Heritage, to ensure that the proposed interventions conform with best restoration practice. The Planning Authority permit for the strengthening and restoration works on the property has been duly issued, and works are scheduled to commence shortly.

The building fabric and its structural issues

The property is located on the eastern edge of the plateau on which Rabat and Mdina sit. This promontory is composed of a top layer of rock, identified as Upper Coralline Limestone, which then sits on a layer of Blue Clay. During the investigative works, the existing water boreholes provided open core sections through the bedrock, and together with additional drilled cores, this allowed the determination of the depth of the rock, on the basis of the natural water level. The rock thickness varies from approximately 9.00m to 7.00m. The property, is constructed directly on the rock surface, which slopes towards the cliff edge (eastwards).

All the buildings are constructed using load-bearing Globigerina limestone masonry walls, supporting floors that comprise stone slabs (xorok) supported on embedded steel I-beams. The term “embedded” means that the steel beams are incorporated in the overall depth of the slab, and do not protrude downwards from the slab underside. This is possible because the stone slabs are supported on the bottom flange of the steel I-sections rather than on the top flange. In general, the lower floors within the buildings are raised above the underlying rock, to reduce the effect of rising damp. This was achieved through a number of low walls (the height depending on

“

The vision is to revive this magnificent dilapidated building into a vibrant residence, with the facilities which one expects in contemporary houses, but with total respect to its history and beautiful detailing ”

Interior view showing wall and ceiling painting by Giuseppe Cali

the original levels of the underlying rock), and/or pillars, which support the stone slabs and the overlying finishes.

At the upper floor, a number of rooms have a ventilated double-roof system, which considerably improves the thermal properties of the building fabric.

A number of cracks were visible in the joints of both external and internal masonry walls. Although cracks in masonry constructions are almost inevitable, it was important for the proper intervention technologies to be selected, to understand their nature and cause. In general, masonry buildings exhibit cracks that could be caused by many different modes of movement; some could be related to geological conditions, others to weather cycles, or differential expansion and contraction cycles between different materials, or simply structural failure. In order to better understand the

type of movement affecting the building, a series of crack monitors were installed. This allowed the office to determine whether such cracks were still active (meaning that movement was still present), dormant, (movement within the building was experienced in the past but was no longer present), or cyclical, (possibly related to seasonal changes). The crack system throughout the building was mapped, creating a 3D picture of these cracks and this assisted to visualise and explain certain movements.

From the preliminary observations, it can be stated that the building has experienced a combination of movement modes, including differential settlement, and possibly cyclical movements. The larger cracks, located in the vicinity of the ends of beams embedded in the stonework, have been caused as a result of the corrosion of the steel beams, and consequent expansive corrosion products. This analysis has allowed the office to propose a number of structural interventions. These interventions are split into two types. The first type of intervention is related to interventions within the masonry walls themselves, intended to strengthen and stabilise the general building skeleton, and to limit any further movement. The second type of intervention will focus on the ground around the buildings, addressing any ground movement within the underlying bedrock.

The first set of interventions is envisaged to include the insertion of ties, within the wall thickness, to bind the walls into a rigid closed box system. This will be obtained through the introduction of fibre-reinforced polymer (FRP), or stainless steel, rods inserted into holes drilled through the thickness of a number of specifically identified walls, spanning through uninterrupted wall sections. Once the rods are introduced into the cavities, a lime-based grout will be pumped through the holes to bond the rods to the stone masonry walls. The second set of interventions will deal with the creation of

specialised foundations around the building to address localised settlements. As in the first interventions, the intention is to create a confining belt around the building foundations, to contain any future movements; the varying levels of rock however make this a challenging operation. Although the rock beneath the property is intrinsically strong, its capacity depends on whether the ground rock is continuous and homogenous, or fractured, with large discontinuities. These interventions will be carried out to address any discontinuities.

Building services

Apart from the structural strengthening challenges as outlined above, another major challenge is that of the insertion of building services into a 19th century building, which is adorned with Giuseppe Cali wall and ceiling paintings at first floor.

The interior design team, lead by Boris Kudlička, and a polish team of engineers, together with our office, have been working on various options and solutions. We are studying the building fabric in great detail to ensure that the services installations are sensitive, utilising, where possible, the existing voids, vents, and double roofs, so as to safeguard the historic building fabric, building details and volumes.

Vision

Villa Luginsland is a unique example of 19th century architecture, which retains most of its original features. It has suffered from neglect and abandon over a number of years, but the vision is to revive this magnificent dilapidated building into a vibrant residence, with the facilities which one expects in contemporary houses, but with total respect to its history and beautiful detailing.

Images: Luginsland ltd.

Optimistic INTERIORS

Words by Claire Galea INTERIOR ARCHITECT

Without hope we cannot face change; without optimism we will not effect change. In a postpandemic reality, as we face daily news of war, famine and climate change, it is easy to become fatalistic. We need our dwellings to be a refuge from this worldwide sense of dread. The interiors of our home can provide a necessary positive shift in our mood and mindset.

Children are rarely pessimistic; this is a trait we develop over time. While many factors may cause this transformation as we approach adulthood, I do believe that a loss of dedicated playtime is the main culprit. Playfulness, albeit an essential part of ourselves, is often negated in our adult lives. An imaginative approach to our interiors helps to create metaphorical layers of joy and humour within the spaces around us, inspiring an optimistic and playful outlook.

Home office by Atelier ND. Charteruse coloured walls and ceilings envelope this study space

Mountain retreat by Frank de Biasi Interiors. Large colourful artwork, a pop art rug and contrasting furniutre pieces offset the more classical cabin setting beautifully

I often sense the trepidation in my clients when I propose a more daring colour palette or material choice. Yet, when clients trust me blindly and I am given a free hand, it is my more eclectic choices which they will rave about when the project is finished. Granted, timelessness and serenity are important factors in a home, but being boring is not the answer. Dreams of bright futures are not built within an entirely beige landscape.

While certain aspects of interior design are inherently scientific, such as lighting considerations and planning out the spaces of a home based on the daily movements of its future inhabitants, developing the material palette and styling choices of a home needs to be done intuitively and by paying close attention to that gutfeeling. This is where the element of play comes in. When determining a home’s colour palette I am often inspired by a client’s wardrobe or art collection; At times, a play on hues found in our natural landscape (or in the home’s garden or surroundings) can do the trick; it could be a palette of autumnal greens, or even those more unexpected shades of yellow and purple typical of a Mediterranean summer garden. When it comes to selecting textures, it is important to appreciate the way different materials make you feel.

While following a more imaginative and instinct-based approach, I invite you to rebel against the old design adages. Do away with the feature wall mentality; create an accent room, rather than an accent wall, where one hue envelopes the entire room. Create a contrast to stark white walls by filling them with bold and colourful art pieces. In rooms with higher ceilings, ground the space by painting the entire ceiling in a deep colour. Finally, when selecting soft furnishings for your home, opt for carpets with geometric patterns, make bold colour choices when selecting sofa fabrics and choose light fittings that are conversation starters and not just necessary objects.

Human beings are sensory creatures, and your home’s interior should appeal to these very senses. By creating vibrant, eclectic homes, we can really kickstart more positive thinking and a hopeful mood within our spaces. Let us not get lost in the social media ‘aesthetic’ obsession as our homes are not a static image. On the contrary, they are spaces that should unfold before our eyes revealing interesting elements during the time we spend within them. Our brains need electrifying details, attention-stealing centrepieces and tastefully layered interiors that spark our curiosity and inspire us. Approach the interiors of your home with a sense of humour – it will help you create an energetic space rife with optimism.

For a glmpse of Claire Galea’s projects, visit her website www.clairegalea.com

Concrete home by Auhaus. A playful mix of soft furnishing and artowork heelps to soften the more severe architecture of the space

FF House by Studio Tamat - geometric flooring and the blue ceiling ground this otherwise stark white space

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RICHARD ENGLAND’S

1964-1970 BUILDINGS

LOST BUT NEVER UNSUNG

Edward Said is a practicing architect specialising in historic building conservation. One of his fields of interest is twentieth century architecture including Modernism and its variants as developed in the Maltese Islands, a subject which he lectures to students of the Faculty of the Built Environment at the University of Malta

Words by Perit Edward Said

To my knowledge there is only one architect in Malta who can boast, in person, that a project of his is a scheduled national monument. In truth for Richard England, Manikata Church needed no such status to celebrate this enchanting icon which throughout six decades of existence has had its praises sung by countless connoisseurs, architects, students and fans worldwide. It was however necessary as a means of protection against the vicious onslaught of “development” a la Maltaise. So to a certain extent Manikata’s “Knisja l-Ġdida” is safe while the rest of the settlement is still massacred by incongruous blocks upon blocks of condominia. A sickening shocker came only weeks ago when the immediate context and mutilation of the church’s older counterpart just a few scores of metres downhill was flagged.

Some may argue that the Planning Authority’s listing of Manikata is too little too late. I disagree, as for so much of our built environment belonging to post-war Modernism it never came, and probably never will, and this wonderful church is preciously unique. Sadly such was the fate of many others of Richard England’s prouder works, a few of them contemporaries of Manikata. It is clearly (and of course understandably) heart-breaking for him to see them being torn down or worse still altered. “It’s actually less painful when they are demolished, less of a humiliation…” he confesses.

Only a few days after I met Richard to discuss this piece, it was announced that the old Ramla Bay Hotel up at Marfa was being dropped to make way for a larger replacement. Having heard that it had been the victim of bastardisation I still went up there, as close as I could to glimpse some of the half-century old structure. Indeed parts had survived, most notably the distinctive series of prefabricated concrete arched lintels recalling traditional well-head gibbets in fields nearby, where “back lighting produces sharpcontrasted effects”. As originally conceived Ramla Bay was a perfect representation of how Richard’s architectural grammar was as international as it was characterised for its place. He drew inspiration from an ancient landscape adapting vernacular elements which he so passionately revered producing a “strongly animated composition”. His has always been a mantra of honouring the genus loci which guided his hand at Ramla Bay, praised even in Architectural Review’s 1969 Malta: Past Present and Future issue.

Still standing just over a kilometre away is the Paradise Bay Hotel, completed in 1964, the year of Independence. Yet after poring over emotive monochromatic photographs taken at that time, what has come down to us is barely a shadow of the intended design, stripped of all the careful geometry and detail by the young architect who had cleverly poised the building into an old quarry. The concrete exterior painted in white and deep blue reconciled contrastingly with the predominantly limestone walls within. Sleek arches and canopies, some parabolic, introduced an almost exotic feel to this idyllic location. Today’s husk, recently rendered in a hideous grey, sits glumly, almost begging for demolition.

Another casualty of recent modernisation was the Cavalieri Hotel at St Julians, a most familiar work of Richard’s which I grew up observing with interest across the water from Sliema’s Exiles. Pitch-dark cavernous balconies contrasting with the outer sunny earth colours; a play of square and arched openings clearly evokes the cubes and curves of the once-quaint sea-side village nearby. Symmetry was

RAMLA BAY HOTEL, Marfa, 1964

avoided by an off-centre recess enclosing the hotel’s vertical circulation. Extended in the 1990s and then overhauled in 2003 the Cavalieri is now a bloated, greyed-out, sterilised affair.

Reading Richard England: architect in Malta (reviewed by Emile Henvaux, also printed in 1969) could not have been more insightful when penning this appreciation. It encapsulates much of the then already well-risen starchitect’s credo through his reproduced writings on the Maltese vernacular and an account of both the body of works he had completed as well as others still conceptual at the time. There is a focus on his string of hotels which apart from those already described above, Henvaux visits others around the then embryonic Qawra. The Dolmen Hotel (opened in 1968) was a particularly challenging project for Richard England, having been delivered a site which still retained the remains of a megalithic temple. The trilithon both intact or ruined unquestionably commanded the

CAVALIERI HOTEL

DOLMEN HOTEL, B ugibba , 1966 [altered]

distinct “simplified neolithic motives” fashioned in limestone and the volumes unified with concrete elements. In my view the Dolmen truly highlights Richard’s mastery at being an architectural sculptor where he daringly embraced a sacred place with his own interpretation of Maltese contemporary architecture, almost exalting the ancient ruins. All this now is a far cry since the hotel was extended in every direction and practically all of the 60s fabric done away with reducing the archaeology to merely part of the soft landscaping.

Just slightly further inland stood the Hyperion, a modest, toned down version of his other hotels due to budget constraints. Again the clean, simplified volumes were carved such as to maintain an impression of “growing out of the ground” then still virgin garigue just like at Ramla Bay. Pure rows of verandas punctured with segmental and compass arches all harking to the traditional loġoġ bil-ħnejjiet so popular in the north and Gozo characterised the asymetric sea-facing elevation. The new millenium saw the Hyperion making way for what is today the San Antonio Hotel.

At the head of Salina Bay close to the historic salt pans, the last and largest in Richard England’s

early hotel series was opened in 1970 when he was just 33. It has been described as an evolution of his previous designs, presented with a rocky site gently sloping down to the sea. A central tower, lofty yet elegant housing the staircases, lifts and suites was flanked by accommodation wings stepping down to low onestorey amenities, covered walkways and terraces. Here was a maturing confidence in amalgamating perpendicular planes and volumes, materials and hues, recollecting the vernacular which England championed so fervently hoping intrigued guests would venture out and explore Malta’s urban and rural delights, so unique to our islands. Silhouetted Salina Bay Hotel could easily have been taken for a small, dome-capped village. Altered, expanded and lately renamed Salini Resort, some attempt was made at following the hierarchical massing, however its inflated proportions, “neutral” colours and textures have pushed it far away from its native origins.

Down south had remained quite underexploited during this period. England’s only commission here at the time was at Marsascala where he laid out the charming Ta’ Monita Tourist Complex, opened in 1968. As ever, brief and site decreed the

SALINA BAY HOTEL, S alina , 1970 [altered]

design process, resulting in an architecture which made direct references to the humble fishermen’s homes that lined the waterfront beneath. Different typologies of units allowed for rows and terraces, a suavely bowed geometry, following the natural contours, interspaced with small pockets of greenery. Variously dimensioned openings, arches and verandas added appeal to this successful destination allowing views for everyone of the sleepy, picturesque bay. A fine motif was the stone finned cornices crowning the curved blocks. Regretfully time was not at all kind to Ta’Monita with the ravages of 21st century development reducing it to only a few fragments hidden behind hulks of soulless construction.

As Ta’Monita was ready to receive guests, a world away in Sliema, another hotel by the hand of Richard England also opened its doors. Sited at Fond Għadir, the Tower Palace Hotel’s was essentially a monolithic architecture. England’s pleasure sought in curved projections gave this fulcrum a smart, eye-catching building. To my mind the sequence of thick fin-like pillars girdling the frontage from Windsor Terrace around onto Tower Road suggested nuances of some of the centrepieces of his hotels as well as other residential projects. Or perhaps even adopting the manners of the Victorian baywindowed houses further along the seafront most of which were then still standing. I recall being somewhat proud of the fact that two remarkable pieces of Modernist architecture by Richard England held pride of place in Sliema, the other being the ex-Joinwell premises further along Tower Road on the corner with High Street, musing how both deserved some form of landmark status if nothing else. This of course was not to be, for the hotel at least, as down it suddenly came some years ago. True that to build this hotel, an Art Nouveau mansion was pulled down, indeed one of the sadder episodes in town-planning however it was replaced with a noteworthy piece of architecture. What replaced Tower Palace is however at best non-descript and can never merit any significance save some bizarre interest in preserving relics of bleakness and mediocrity which dominate our age.

Good manners in architecture is a quality which Richard England often alludes to. His Mid Med Bank premises expressed such a sentiment given that most of them were sited in formal urban cores. At Santa

Venera however far out from St Joseph High Road, he nonetheless positioned a smart two-storeyed office building to serve as a computer centre. Chiaroscuro was once more sought when moulding the façade, the upper floor being enclosed in a row of deep, projecting archivaults also seen in his Msida branch. Alas the former has long gone, however the latter still stands, as do others in various localities, notably St Julians and St Paul’s Bay. Each worthy of being recorded, studied, possibly leading to the protection of a few specimen of these individualistic creations, some of which still even retain artistic pieces within by the architect himself or contributions from his circle of artists.

From all of the losses, one particular building stands out for Richard. Villa La Maltija in San Pawl Tat-Tarġa, where two sisters entrusted the architect to provide them with a spacious home, giving him free reign to embody and indulge all he relished in design. Set amidst panoramic views across central and northern Malta, to quote Henvaux “the whole architecture of the villa has been thought out to create a contemporary expression strongly tied to Maltese tradition”. Quentin Hughes actually compares its “solidity” to the mighty fortifications. Completely demolished just over a decade ago, it was replaced with several much smaller semidetached villas. Peeved for having never felt or tasted this beauty, I long for the day when a realistic computerised walk-through can be offered.

What has surely been underscored in this text are examples of the dynamic transformation of the Maltese islands from Independence onwards. A nation was born demanding countless exigencies. With buildings we saw how good taste and sensitivity soon yielded to socio-political and economic pressures which has sent this sector into a frenzy. “The speed of change makes you wonder what will become of architecture” said Tadao Ando.

Rather than concluding in tears however, this appraisal should serve as a red alert, which proponents of post-war architecture have been sounding for quite some time now. How many more losses can we sustain of those dwindling buildings which although classified as modern are in fact for the most part regionalist, thus identifiably Maltese? And yes those by Richard England must receive special attention. I for one intend doing what I can to. Education is the key, but we must make haste!

PARADISE BAY HOTEL , Cirkewwa, 1964 [partially demolished and remodeled]

TOP UK ARCHITECT ED HAYDEN

KICKS OFF MASP TALKS EVENT

The Planning Authority (PA) kicked off its MASPtalks programme with an all-inspiring keynote presentation by one of the UK’s top architects, Ed Hayden from renowned architectural firm Scott Brownrigg

Held on the 26th of August, in the historical MUŻA courtyard in Valletta, this year’s much anticipated PA activity also featured the launch of the 3rd edition of its annual publication featuring the latest Malta Architectural and Spatial Planning (MASP) award prize winners and all the participating projects, under the Patronage of the President of Malta.

In his speech, Minister for Public Works and Planning Dr. Stefan Zrinzo Azzopardi said, “the spirit of the MASP awards fits the type of future that the government envisages for this sector, one built on excellence and a positive contribution to society. Let these exemplary projects catalyse more positive change and serve as inspiration to others.”

International guest speaker Architect Ed Hayden, a director at Scott Brownrigg, one of the UK’s largest architectural firms with an extensive international practice, leads teams of architects and technicians and focuses on championing sustainable design and design quality, particularly within the practice’s life science and offices sectors.

During his talk, he shared his experience championing zero carbon projects and design innovation within Scott Brownrigg and the wider industry. He stressed that, as an architect, design is an integral part of

UK Architect Ed Hayden, a director at Scott Brownrigg, one of the UK’s largest architectural firms

reinforcing the value of people’s lives and that, “anything we build should be a building that’s cherished”. As a first principle, “it’s all about enriching people’s lives with buildings which people care about”.

“If one cherishes something, he looks after it, so it lasts – and that’s sustainability.”

At Scott Brownrigg, research is an essential part of the design process. In fact, its Design Research Unit was founded in 1942 by Herbert Read, Misha Black and Milner Gray, making it the first consultancy to combine expertise in architecture, graphics and industrial design. The unit was responsible for some of the most iconic and recognisable brands produced in post-war Britain, from the identities for British Rail, Courage Brewery and ICI, to significant work for the London Transport Executive and Westminster’s Street signs, as well as a number of interiors for the P&O Orient Line’s new liner, the Oriana.

In his presentation, Hayden highlighted how the construction industry plays a vital role in world economy, creating, operating and maintaining its physical infrastructure. It is also a significant contributor to the world’s carbon emissions, with energy consumed at every stage of the infrastructure lifecycle.

Hayden’s recent projects include the Cambridge Science Park Bio-Hub, Arm Headquarters, Peterhouse Technology Park, Cambridge international technology park, CABI Headquarters, and the award-winning St Georges College Activity Centre.

The MASPtalks event continued with a feature by

the Society for Architecture & Civil Engineering Students (SACES), which together with IAS organise the London Archivisit initiative. SACES are a faculty-based organisation representing all students within the Faculty for the Built Environment at the University of Malta.

Archivisit provides exposure for local students to experience best practices in design and project management, new technologies, site processes/ procedures and green infrastructure techniques. This year’s edition, which was sponsored by the Planning Authority (PA) and the Building and Construction Authority (BCA) offered students a diverse assortment of activities, including workshops on structural engineering and architectural design, exhibitions, walking tours and site visits. The

group was hosted by international reputable multidisciplinary architectural firms and respectable educational centres, including Arup, Hilson Moran, Thornton Tomasetti, Buro Happold Engineering, MAKE, Mizzi Studio, and Bartlett School of Architecture and the Royal Institute of British Architects (RIBA).

Perit Vincent Cassar, the Chairperson of the MASP Awards Jury, spoke about the benefits of the Archivisit activity overseas, describing it as “a great initiative in exposing architecture students to experience not only architecture and design from other countries but also to experience work practices.’

While thanking all involved in making this annual event possible, particularly the support of the Planning Authority, Perit Cassar suggested that these students’ visits should, in the future, not be limited to the UK but include other countries in the EU and beyond.

Read more https://www.maspawards.com

The Centre for Agriculture and Bioscience International (CABI) in Wallingford (UK), an award winning project handled by leading international architecture firm Scott Brownrigg

Perit Vincent Cassar, Chairperson of the PA’s MASP Awards Jury

Dr Stefan Zrinzo Azzopardi, Minister for Public Works and Planning

Scott Brownrigg’s Design Research Unit was responsible for some of the most iconic and recognisable brands produced in post-war Britain, including British Rail

THE QUAD CENTRAL

A POPULAR SPOT FOR FAMILY AND FRIENDS

Development

works at The Quad Central are moving forward at a fast rate and nearing completion.This new business destination, at Malta’s Central Business District, is already growing in popularity, with the opening of several outlets.

Unquestionably, this spectacular development is becoming Malta’s well-liked spot for family and friends, offering an ampler and extensive array of handpicked outlets to all its customers. Located in Mrieħel, The Quad Central consists of four interlinked towers, each having between 13 and 19 storeys, surrounding the central piazza with open landscaped spaces of approximately 6,000 square metres. In November 2021, the first tenants began to operate from the new hub, making the most of a workspace like no other. All the available spaces for office lease in Tower Q3, have been acquired by tenants from various business sectors.

“Certainly, the addition of new business occupants, in a short period of time, continues to position The Quad Central as the leader in one of Malta’s most attractive business areas. Daily, we receive several requests from different type of firms, including from those who have never made business from Malta, to explore the possibility of opening a new office or relocating their company’s workforces at The Quad Central. We are overwhelmed by the interest shown by well-established reputable companies from all around the world, who are

keen to be part of our spectacular and innovative office spaces,” said Zak Fenech, Head of Sales and Marketing at The Quad Central.

Over the past months, well-known brands and franchises, both locally and worldwide, have announced their new business venture at the Quad Central and started operating from Mrieħel. Amongst these new outlets, there is the largest coffeehouse company in the world, Starbucks. The latter is renowned as the premier roaster and retailer of specialty coffee in the world, with more than 32,000 stores in 80 countries.

This state-of-the-art development is centred on a strategy for future growth and innovation and for its tenant’s employees, The Quad Central is also providing a space for clients to incorporate health and fitness activities into their workday, with the inclusion of a high-end fitness centre, Fort Fitness; a state-of-the art fitness studio, where members will have access to a full range of health, fitness and wellness services under one roof. More recently, Malta’s largest retail pharmacy Group,

Brown’s Pharma, has also opened its doors at this new high-end business hub. Apart from these popular outlets, the tenant line up at The Quad Central also incudes Quaddies, a first class childcare centre, Greens supermarket, the popular and healthy Dr. Juice eatery, Malta’s most popular Turkish restaurant, Ottoman by Posh Turkish and the first borderless intercontinental concept-restobar of its kind in Malta, Mondo.

The Quad Central also hosts other conveniences such as Papier stationary and a dry-cleaning service. Moreover. this exciting business place has an incorporated car park that caters for 1,500 vehicles, has bike racks and a car wash to cater for tenants and visitors.

In a short period of time, The Quad Central has managed to attract leading brands and franchises to Malta’s Central Business District in Mriehel. The development has been carefully crafted to foster the best possible experience, whilst implementing notable green and environmentally friendly building concepts. The concept of the Quad Central is one that embraces personal well-being and improved lifestyle for anyone working or visiting this commercial centre, through the centrality of the address as well as a unique mix of amenities. In the coming weeks, more outlets are set to open at The Quad Central, offering an extensive array of handpicked outlets to all customers.

Mono Bollard by

Made

White Green Corten Grey Black

colours

OUTDOOR LIGHTING SUITABLE FOR EVERY ENVIRONMENT

Due to our climate and weather elements we need to be very cautious on what type of materials we purchase when it comes to outdoor lighting.

9010 have been creating, designing and manufacturing lamps and lighting systems for indoor and outdoor applications. The company’s deep knowledge of raw materials, combined with passion and creativity are the characteristics that make 9010 unique.

9010 is the result of a precious ancient craftsmanship, improving into something completely new: a highperformance material suitable for outdoor spaces regardless of the environment.

Nature gives us a raw material that’s tangibly practical and can be used for any type of outdoor space. It combines material strength and lightness of form, versatility and characterful design.

BETALY® by 9010 is a handmade compund that makes every item unique,due to its distinctive artisan finish.

Products created using BETALY® have excellent resistance to wear and extremely high levels of resistance to compression and atmospheric agents.

They are also waterproof and suitable for use in outdoor areas, thanks to IP65 protection for electrical components. BETALY® has a rough, textured surface, which evokes nature and its primitive, essential shapes; a material that can adapt to exteriors and add an impactful designer touch.

BETALY`s® characteristics

Suitable for outdoor use

Frost resistant

Thermal resistant

Non-Toxic

Non deforming

Absence of chemical reaction

Non-Flammable

High impact resistance

Materic touch

UV resistant

Salt corrosion resistant

Abrasion resistant

This innovative collection is characterised by design and excellent quality, with a close focus on current trends and attention to detail.

9010’s production methods guarantee resistance and robustness while retaining artisan quality, allowing to create items that are unique. The perfect solution for terraces, walkways, gardens and any outside space that needs light.

9010 teamed up with different designers to develop solutions for outdoor lighting, focusing on different design approaches; ranging from innovation in style and function to formal design elements.

The works are a careful observation of everyday life by studying human behaviour to identify small problems, which require simple and practical solutions, but most of all aesthetically pleasing to the eye.

A variation of outdoor light fittings are produced from bollards, high level wall lights, low level wall lights, ceiling surface mount light fittings and even front door house numbers.

WHY BUILDINGS ARE THE FOUNDATION OF AN ENERGY EFFICIENT FUTURE

Buildings and their operational use are a critical piece of our transition to a lowercarbon future. They are where we live, where we rest, and where we work. Based on the Long-Term Renovation Study (LTRS) issued in 2021, buildings are in fact responsible for a large share of the world’s energy consumption and contribute towards emissions. It is a well-known fact that the energy sector is a contributor to climate change through the generation of emissions. In Malta, these emissions directly contributes to around 15% of the total greenhouse gas (GHG) emissions and are a key sector in our efforts towards a climate-neutral EU.

One major source can be seen in residential buildings. Based on Eurostat, Malta’s residential sector in 2019 was responsible for 14.5% of the final energy consumption, which includes energy used for the building itself and appliances (compared to an EU average of 25%). It is proven that new buildings (built from 2015 onwards), consume on average 20% less energy than those built prior to this date. Having said this, retrofitting of buildings constitute to much less overall GHG emissions over the contribution of new buildings.

In a world where energy usage is so fundamental, improving building energy performance should not be considered as an option, but a fundamental obligation., A number of actions actions can be put into place to reduce the climate footprint of our homes. A number of strategies in this regard have been issued by the Government over the past years, these include the adoption of measures for sustainable energy use such as, the Long Term Renovation Strategy (LTRS), the National Environment and Climate Plan (NECP), the Low Carbon Development Strategy (LCDS) and the Nearly-Zero Energy Buildings Plan for Malta (nZEB).

Malta wants to remain ambitious in its energy

targets and enhance energy efficiency. It remains determined to continue in its pathway towards climate neutrality and will continue to take action to reduce emissions, even from the power generation sector. Over the past weeks the Government has introduced voluntary consumption reduction measures in all public buildings. This has been adopted so that the public sector leads by example. Public initiatives are essential to spearhead change however the Government has been promoting a number of incentive and grant programmes which play an essential role into making the building stock cleaner and smarter.

But what is factually being done?

Space Heating and Cooling

In residential buildings, most energy consumption goes to power the heating/cooling system. The primary approach to combating this is through insulation, particularly insulation of exposed walls and roofs. This is particularly important in the case of apartment blocks, where it is evident that lack of insulation is the poorest performing aspect. Over the past months, the Ministry for the Environment, Energy and Enterprise has issued grants worth €500,000 to enable households to invest in better performance

glazing and roof insulation. The grant has been fully taken up in a matter of weeks with a total of 499 beneficiaries benefitting from this scheme.

Further to glazing, roof or wall insulation introducing shading devices may also further support Heat thermal transmission and minimise cooling operations.

Other grants which have been introduced are the air to water heat pumps which can provide efficient heating and cooling for your household. An air source heat pump transfers heat from the outside air to water, which heats your rooms via radiators or underfloor heating. It can also heat water stored in a hot water cylinder for your hot taps, and showers. This grant may also be adopted by multi storey apartments which do not have access to a roof but would still like to invest in energy efficiency measures. The grant which has been once again launched during this year has already attracted over 80 beneficiaries.

Lighting and Appliances

Lighting systems are technically of a higher impact in an industrial settings, however research

performed by the National Statistics Office, implies that lighting is responsible for a significant portion of the energy footprint within the existing residential building stock. In fact, it contributes to approximately 30% of the total energy footprint. As a result, the choice of energy efficient products especially in our homes can have an positive impact on energy consumption. This mostly applies when one is choosing their appliances based on their energy efficiency. Opting for smart solutions through automation such as presence and occupancy sensing coupled with high efficient appliances, may result in being the best solution.

Water Heating

Water heating consumes the second highest proportion of domestic energy. Several solutions exist for water heating, which also conserve energy more effectively than the electric storage tank water heaters. Instant gas water heaters heat only the amount of water that is required, rather than continuously heating a full tank. Heat pumps use a vapour compression cycle to extract energy from a low temperature source and transport it to a high temperature reservoir. Solar Water Heaters are also a viable option, particularly flat plate solar water collectors.

The investment of government in grant schemes for energy efficiency measures in the domestic sector

between 2013 and 2021 amounted to € 4M with 6,561 beneficiaries. The grant schemes provided grants on the purchase of solar water heaters, double glazing and roof insulation and as from 2018 also on heat pump water heaters.

Onsite Renewable Energy Generation

Renewable energy production can also help in reducing climate footprint. One should first adopt a reduction in energy demand and then seek to opt for alternative renewable energy solutions. The Ministry for Environment, Energy and Enterprise has worked significantly in this area. Over the past years incentives in relation to battery storage, hybrid inverters and combination of such technologies were introduced. The total number of beneficiaries at the end of 2021 for these nationally funded photovoltaic schemes was 2,311 and the total amount of grants paid to these beneficiaries was €6.3M.

The demand for photovoltaic solutions in households coupled with battery storage systems has increased exponentially over the past year with a total committed investment of €2.4M over this year alone until end of July. This constitutes to a total of electricity consumed by nearly 800 households in a single year from this scheme alone for households.

Apart from this grant there is the Feed in tariff scheme for households. The FIT is set at €0.15c committed for 20 years. This is amongst the most competitive FITs within Europe. The maximum capacity allocation for this scheme is 8MWp which if taken in its whole entirety would constitute to a total of electricity consumed by nearly 2,900 households in a single year. During this year alone, to date this scheme has been committed by 500 beneficiaries with a government investment of €14M committed over 20 years.

Decarbonising our existing and future building stock through the deployment of the right technologies, is the right way forward. This needs to make not just financial sense, but environmental, health, reputational and labourmarket sense too.

This is why the quality of life of people very much depends on the space they are living in. The Government is incentivising the general public to invest more in energy efficiency measures. Ensuring that new buildings are more energy efficient, and that existing buildings are decarbonised, is key to our efforts to combat climate change.It is therefore encouraged that there is uptake of these measures in a timely manner, to ensure appropriate time for adjustment. Be the first to Activate Change!

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